Slp arts zine nov dec 2014

studio la primitive

arts zine issue 8 nov/dec 2014

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Christine Pike

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Barbara Nanshe

Carlin McLellan

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Kate Broadfoot

Kathryn Thomas

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Lisa Pollard

Lorraine Fildes

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Tony Hull

Robyn Werkhoven

Ken Orchard

Adornment Exhibition

Susana Enriquez

Ann Sutherland

Laraine Palmer

Naomi Wild

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studio la primitive EDITOR Robyn Stanton Werkhoven CONTRIBUTORS Eric Werkhoven

Mine Explosion - mixed media on linen - Christine Pike Above: I Love My Dog - mixed media assemblage - Barbara Nanshe Please do not copy articles in this magazine without written permission of the Editor. Copyright Š 2014 Studio La Primitive, All rights reserved.

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INDEX Index……………………………………………………3 Editorial………………………..Robyn Werkhoven

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Studio La Primitive Antics……E&R Werkhoven

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Featured Artist……………… Christine Pike

6 - 19

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Poem ………………………….Carlin McLellan

20 - 21

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Featured Artist ……………… Barbara Nanshe

22 - 31

Artist Interview……………… Kate Broadfoot

32 - 41

Poem…………………… …… Eric Werkhoven

42 - 45

Featured Artist…………………Lisa Pollard

46 - 59

Excursion to Wadi Rum……

60 - 71

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I N E P I K E

Lorraine Fildes

Featured Artist…………………Susana Enriquez 72 - 79 Poetry………………………… Kathryn Thomas

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Artist Profile……………………Naomi Wild

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Artist Profile…………………

Laraine Palmer

88 - 93

Adornment Exhibition……………………………

94 -113

Art News………………………… ……………… 114 -129 Left: Valley View, Gresford # - mixed media - Christine Pike

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EDITORIAL Greetings to all our ARTS ZINE readers .

The Nov / Dec 2014 issue features interviews with nationally recognised artists Christne Pike, Barbara Nanshe, Lisa Pollard, Kate Broadfoot and this year’s Adornment Wearable Art exhibition in Newcastle NSW. Lorraine Fildes travel writer and photographer visits Wadi Rum, capturing the beauty and vastness of the desert.

Don’t miss reading our new essays, poetry and art news.

The ARTS ZINE features professional Hunter Valley, national and international visual artists poets and writers, glimpses into their world of art and their creative processes.

This is our last issue for 2014, we will return in March 2015, with exciting articles / interviews on some of Australia’s leading artists.

SLP would like to thank all contributors .

DEADLINE FOR NEXT MARCH ISSUE is FEBRUARY 15TH 2015

Submissions welcomed, we would love to have your words and art works in future editions in 2015.

Best wishes to all our contributors and readers for 2015!

Submit articles to email:

werkhovenr@bigpond.com

Regards - your editor Robyn Werkhoven Issue 8

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E & R A N T I C S STUDIO LA PRIMITIVE (C)2014 - ANTICS by E&R Werkhoven collaborative drawings . www.studiolaprimitive.com Issue 8

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CHRISTINE PIKE

Parched Landscape - Christine Pike Š 2014 Issue 8

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CHRISTINE PIKE “I was born in Kurri Kurri but spent most of my childhood in Toronto on the western side of Lake Macquarie at a time when one had lots of freedom to swim and ride horses.

I have had several career changes which I believe have influenced my work directly and indirectly; in office, farm, tourism and IT before becoming a full time artist.

I have studied life drawing at the Royal Art Society of NSW with tutor Ann Cape, watercolour with (late) Molly Flaxman and mixed media with Rhondda Walters. Rhondda Walters, who imparted to me some of her expertise with mixed media, showed me how to view a painting and this opened up a world for me.

Rhonda was a student of and a teacher for Desiderius Orban. Ann Cape, who is amazing at imparting her knowledge on drawing, has more recently been an inspiration to me.

My studio (converted shed) and home are located at Vacy in the Hunter Valley. Steve Crockett my partner also paints.

Early in my life I drew pictures in my mind when I should have been doing my school work. My library books were often art books - art history and William Dobell’s portraits filled me with intrigue. My father, who was a miner, would on rare occasions take me to Newcastle Art Gallery, which I loved.”

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Checking - mixed on canvas 48 x 36cm - Christine Pike Š 2014 Issue 8

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“At the age of eighteen I headed off to Europe on my own with a rail pass to view many of the works I’d seen in books. I still hanker to go back and see some of the ones I missed.

Drawing is a daily routine for me. I usually start with a drawing on location, which then evolves as I add other media/layers and further develop the idea in my studio. Mostly my art is intuitive while at other times it can be a challenge.

I am inspired by the beauty and harshness of the rural, urban and industrial landscapes; light and dark, faces and the human form. Horses, that other passion are mainly drawn in charcoal.

This year I became an Associate Member of the Royal Art Society of NSW, plus a finalist in the Mosman Art Prize. In 2013 I was a finalist in the two dimensional painting and work on paper at the 42 Muswellbrook Art Prize. Previously I have won the Pam Jennings Memorial Open Prize – Scone, Western Art Show Major Award and the Art Scrawl General/Open ADFAS Award, Semi-Finalist in the Doug Moran National Portrait Prize in 2013 and The Royal Art Society of NSW Art School Drawing Award.

At present I am busy working on an exhibition of images that will show coal miners in their working environment. I am the daughter of a coal miner and my family’s mining tradition dates back to mining in Northern England. My aim is to immerse the viewer in images that depict both the hardworking life and comradeship amongst coal miners in their environment.”

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Shadows - mixed media 60 x 48cm - Christine Pike Š 2014 Issue 8

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“Art gives me great joy - both seeing other people’s art (there is so much talent out there) and producing my own. I’ve also been privileged to meet so many interesting people along the way and to gain so many friends. Art for me is forever learning and evolving. I see myself as a lifetime student.”

Artist Christine Pike beside her painting Mine Explosion Issue 8

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Confrontation Mixed media on paper Christine Pike Š 2014

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Profile Study Ink on Paper Christine Pike Š 2014

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Seeing Red Mixed media on canvas Christine Pike Š 2014 Issue 8

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Cable Work 48 x 60cm Mixed media on canvas Christine Pike Š 2014 Issue 8

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Deputy Greg 48 x 48 Mixed media on canvas Christine Pike Š 2014

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Coalface #25 Acrylic on canvas Christine Pike Š 2014 Issue 8

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Coalface #22

Coal Face #17

12 x 12 inches acrylic on canvas

12 x 12 inches acrylic on canvas

Christine Pike © 2014

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CHRISTINE PIKE COAL MINERS Muswellbrook Regional Art Centre, 10th January to 22nd February 2015.

Exhibition Official Opening: 6pm Friday, 9 January 2015, Muswellbrook Regional Arts Centre, Corner of Bridge and William Streets, Muswellbrook NSW 2333.

Tuesday to Friday 10am – 5pm, Weekends 10am – 1pm Mondays by appointment only.

Crib Over - 24 x 48cm mixed media - Christine Pike © 2014 Issue 8

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We Never Made it to the Casino Carlin McLellan

(c)2014

You are very vast You an unsolvable murder mystery Take me to Toledo & I will hold your hand as best as I can In the mosque I pray to Allah In the church I pray to God In the Synagogue, to Jaweh Issue 8

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At the gift shop I'll select the most perfect post cards imaginable and as we sit in the shade eating ice creams the sky caresses us both That night You tell me San Miguel is your favourite angel & you are mine Swallows dance above the rooftops My skin melts into the mattress

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BARBARA NANSHE Issue 8

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Barbara Nanshe Artist & Jeweller “I was born in Launceston Tasmania in 1964. In 1976 we moved to the small country town of Dunorlan, nestled in the hills north of Deloraine.

My days were immersed in nature amongst the trees and rocks along the clear river that wound its way down from the mountains. My creative passion began here making sculptural land forms with rocks, sticks, leaves and string.

I have always been inspired by nature and our relationship with it. Energy and forms, shadows, colours, textures, animals, plants and pattern all inspired me.

I moved to Melbourne in 1983 where I studied pattern and clothes design with a local fashion company while working as an actors extra on Australian productions. I began designing and making clothes and jewellery for myself and my friends.

I moved back to Launceston in 1986. I enrolled in a 4 year Bachelor of Visual Arts degree.

I graduated in Art History, Drawing, Sculpture and Printmaking from the University of Tasmania in 1991.

I paid my way through Uni by selling my jewellery. I made it from what ever I could find and sold it outside the cafeteria once a week. This work helped me develop my hand skills and problem solving with materials.

The foundation year of the BAVA gave me time to develop my ideas and find out what discipline and mediums best suited them. I continued Jewellery making and started printing material with my own patterns and designs to make clothes.�

Opposite Page: Tunnel Vision - assemblage - Barbara Nanshe

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Spirit Catcher - mixed media 100 x 14cm - Barbara Nanshe Issue 8

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I was introduced to artists such as Egon Shiele, Max Ernst, Marcel Duchamp, Alberto Giacometti, Edvard Munch and Joy Hester. Influenced by these I went seeking expressions of my own psyche through drawing, printmaking and sculpture. I think I initially used art as a psychic release.

Sculpture became my focus. I particularly loved working with lead, wood, plaster, paper mache and found objects.

At the end of my second year majoring in sculpture, I produced life sized figures made using car head lights, lead sheet, plaster, metal, carved wood and acid etched steel.

My art practise focused on the human psyche and how it is shaped by ritual, dogma and custom and how this plays out in the social construct of, particularly, gender identity.

There was also an element of

existentialism to my work and my sculpture was often life sized in order to relate to human personal space.

My art practice was well under way when I moved to Newcastle In 1989, as part of an exchange program between the two universities.

My work became about the energy we can't see, only sense. I focused on the existential and on relationships and constructs between people and their environment.

6 Part Cow was a collaboration between 6 artists in 1991. I produced life sized figures with prosthetic limbs and fibreglass faces rigged up to a setting of scaffolding. I enjoyed working with life sized forms.

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After this the size of my work became smaller and increasingly limited to assemblage, collage, drawing and jewellery as a reaction to limited space.

In 1997 I exhibited 113 post card sized collages and 100 pieces of jewellery that I had made in just a few months, in the empty front room of my house in Carrington. An ideal Pop Up Gallery. It was a sell out exhibition!

My jewellery making will always be influenced by the processes I use for sculpture. I still construct layers, tell stories and explore the relationship of materials. Recycling and up cycling materials are a part of my philosophy of making.

Since opening Nanshe studio gallery more than 2 years ago I have come full circle, primarily focusing on making jewellery and wearable art. I have had more time to make my own work than ever before even though I spend a lot of time collating and exhibiting other artists work.

I am currently working on assemblages. The figure meets the computer age. Humans become a collection of parts remade from recycled materials and living in cyber space. Colour represents our many choices and our computer generated existence.

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My current work will be included in an exhibition with eleven other artists, called Small Medium Large.

The show, opening at 4 galleries on Saturday 14th February 2015, is first of many initiated by The Newcastle Gallery Collective. NGC is a collaboration of 4 Newcastle Galleries: Nanshe Gallery, Cstudios Art Gallery, Newcastle Art Space and Four Point Gallery.

It is in some way a reaction to the changes in the art market, yet also a need to bring the art community together to support each other and artists alike.

Next year I want to make some small bronzes. This may start while I am working on the assemblages as ideas have been running around in my head for a while now.�

- Barbara Nanshe (C)2014

Model 2 - mixed media 172cm , 1992 - Barbara Nanshe Issue 8

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Contented Pendant 100% recycled sterling silver and copper Barbara Nanshe Š 2014 Issue 8

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Doll Pendants 100% recycled copper wire and gem stones Barbara Nanshe Š 2014 Issue 8

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Hot Summer Night - ink / pencil / paint on paper 2006 - Barbara Nanshe

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Womb - mixed media + woven copper dolls - Barbara Nanshe

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KATE BROADFOOT

Coastal Profiles Escarpment - oil and charcoal Issue 8

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KATE BROADFOOT Kate Broadfoot has over forty years experience as an artist, teacher and publisher and has held many solo and group shows. She owned and operated the well-known "Bonn Accord Arts & Craft Centre" from 1988 to 2007 , Bulli NSW. Broadfoot was a finalist in this year’s prestigious NSW Parliament Plein Air Painting Prize Exhibition, held in Sydney, and has been selected as a Finalist in the Paddington Landscape Prize 2014.

Right: Griffith Canal - oil painting - Kate Broadfoot.

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KATE BROADFOOT—INTERVIEW Kate says: “Hoorah! Finally I have reached a time in life when all the hard work is done, the children are now adults, we have gone to work to earn a living for forty years.

Hoorah! I am still alive and able to sit in a beautiful location to paint a scene, to

challenge my mind,

indulge all the senses and sigh with satisfaction at the result.

To find a scene that inspires and then to translate that scene to board or canvas, with oils, water colours, graphite and charcoal, solving as you go all the problems of horizon, tonal depths and vanations, size and shape of forms. What to leave out, how to exaggerate and enhance, to convey the drama, essence, quirkiness or feeling of the scene. This is what I love, now as much as when I first painted en plein air at the age of sixteen, under the guidance of a wonderful art teacher.

The end result is a complete mystery – sometimes it seems a second brain steps in and creates the painting as I have no idea how the painting will evolve. I delight in the surprise of the finished painting.

Not until I step back and take in what I have painted, do I register whether the

painting “works”.

The problem solving is all absorbing. I try to have a few step by step processes to keep some control over the painting. I have a list of rules which usually fly off the canvas, as I become absorbed by particular elements of the scene.

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My rules are as follows: Do not fiddle.

Any scene is paintable.

Work with a limited palette – tone is the key.

No post studio touch ups.

Best when viewed from a distance.

Draw with paint and brush.

Every painting is imbued with memories of the place and events which were going on around me. No number of bugs or grass and dirt stuck in paint can convey all that happens around you when you paint en plein air. The sounds of people, bugs, birds and wildlife all add to the texture of the painting.

I have been investigated by the police (strange cars in an isolated location get reported), interrogated by locals, rained upon, moved on and consulted

concerning others’ artistic aspirations. Being a landscape

painter would be a great cover for an ASIO officer.

The paintings can pile up behind the door – I will keep painting and nourishing my soul.”

- Kate Broadfoot (C)2014 Issue 8

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View up Bowral Street - oil painting - Kate Broadfoot Issue 8

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Hayshed Burradoo - oil painting - Kate Broadfoot Issue 8

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Griffith from Monument Hill - watercolour - Kate Broadfoot Issue 8

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Road to Captain’s Flat - watercolour - Kate Broadfoot Issue 8

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CENTRE & COAST: LANDSCAPES BY KEN ORCHARD, KATE BROADFOOT & TONY HULL Three award-winning, established artists, Ken Orchard, Kate Broadfoot and Tony Hull have joined forces to stage a collaborative exhibition focusing on the Australian landscape, entitled "Centre & Coast". The show will run from Thursday 30th October through to Tuesday 11th November 2014 at the Bowral & District Art Society Gallery, 1 Short Street, Bowral, NSW. Entry to the exhibition is free and refreshments will be served. The artists will each give exclusive insight into their work at the launch on Saturday 1st November at 2pm.

The artists will present a body of work that showcases their diverse and abiding interest in the Australian landscape and their engagement with the plein air painting tradition. "The oils, pastels and watercolours on display explore the inherent energy, motifs and dynamics of Australian inland and coastal landscapes in the regions in which we live and work," says Tony.

Kate Broadfoot has over forty years experience as an artist, teacher and publisher and has held many solo and group shows. Tony Hull was a semi-finalist in the 2013 Moran National Portrait Prize and over his career has received twenty-six awards and prizes for his painting. Broadfoot lives in Bulli and Hull in Kiama, both on the South Coast of NSW. Both Broadfoot and Hull were finalists in this year’s prestigious NSW Parliament Plein Air Painting Prize Exhibition, held in Sydney.

Ken Orchard is based in Adelaide, South Australia and has a national profile. He is a finalist in the 2014 Heysen Prize for Landscape Art, in South Australia, and was the 2013 Artist in Residence at Grindell’s Hut, Flinders Ranges, SA. He will present works relating to Lake Mungo and Hill End, in NSW as well as a range of South Australian works.

This not to be missed exhibition will present a rich visual selection of over sixty works exhibiting the expressive, aesthetic and interpretive qualities of a diverse range of landscape subjects.

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Untitled Poem I

Stormy weather and I guess you have heard it all before.

But you have to keep me in your note book.

To sail across these grey skies on a snippet of paper.

Who knows who will find this message, all soggy.

Light up, for someone to see a light at the end of a tunnel.

Stormy weather it could be!

A muffled cry of an animal or a man.

- Eric Werkhoven Š 2014 Issue 8

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Untitled Poem II To take a lead of what’s currently in vogue.

A street scene, somewhere on a busy intersection.

High above the neon lights, a jet crosses over and an owl sits on a washing line, while you make me want to wait for an answer.

To come up with a different twist, a bungled out cry of a quick getaway, in the lead up to a different song, somewhere far away.

To make up, we make it up, to conjure in our wake, the dancing shadows.

Turning the lights off and on.

Dreams are made of these twisted characters.

- Eric Werkhoven Š 2014 Issue 8

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LISA POLLARD

Lead the Way - 110 x 50cm oil on canvas - Lisa Pollard Issue 8

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LISA POLLARD - INTERVIEW Background: Lisa Pollard was born in Melbourne in 1969, and now works and lives in Newcastle. Pollard studied art in Brisbane,

Sydney, London and Newcastle. Pollard worked in education for thirteen years and is also a

trained Yoga & meditation teacher & Mindfulness-based stress reduction facilitator with more than twentythree years of self-practice experience.

Pollard has been exhibiting her paintings for fourteen years up

and down the east coast of Australia and in many group shows in Sydney and The Hunter Valley Region.

I asked Lisa when did her passion for art begin?

“I began painting in kindergarten and enjoyed the arts throughout school and University, taking on extra art electives, whilst studying to be a primary school teacher. Once I began exhibiting in Brisbane in 2001, my art practice became more

structured; however I have numerous sketchbooks from my travels

overseas during my 20’s, where I enjoyed drawing, collage & painting.

Photography continues to inform my art practice and also being present in nature.”

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Rock On Up - 30x 30cm oil on canvas - Lisa Pollard Š 2014 Issue 8

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Pollard’s work may be described as “Colour evokes strong emotional responses for Pollard and this has been transferred into many of her pieces. She enjoys the inter connectedness of shape, design, texture and layering. Currently, Pollard enjoys the freedom of working quickly, to strip back layers to reveal symbols from the unconscious.

Many of her ideas cultivated from an interest in pattern, texture and colour found in natural objects, rocks, and the landscape.

Pollard believes that the arms are an extension of the heart and the artist connects to a place of stillness through the intuitive process of painting. Often her fresh earthy canvasses reveal mysterious layers evolving from a rich earthy palette, which seems reminiscent of the Australian landscape”.

Union - 50 x 50cm oil on canvas - Lisa Pollard © 2014 Issue 8

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Inspiration for her works is discovered in everyday life -

“Colour, changing light particularly in the afternoon as it softens, the beach and the bush, awareness, meditation, yoga, kindness, my children and our new kelpie puppy.

I have also been inspired recently by the driftwood along horse beach, building a collection of found objects which will be integrated into my craft as space becomes available through daily life.

Also the freedom I feel when I am totally immersed in my art practice, which nourishes me deeply. The art community in Newcastle also inspires me, particularly when I was studying at Tafe before the changes came into place. I felt guided by all the Tafe teachers who encouraged my art practice over the four years that I studied part time from 2008-2011. I am especially inspired the work of Mazie Turner and John Morris, particularly his last show at NAS.

I’m also inspired by Abstraction and recently visited Abstraction Now at NAS, I’m excited by the talent in Newcastle and how many new galleries are opening and the amount or practicing artist in the Hunter region, who support each other to exhibit and be seen”.

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I asked Lisa what she considered her greatest challenge, achievement and exhibitions.

“Starting to paint again after a three-year break after having my second child.

It’s always an achievement to exhibit after becoming a mother and juggling an art practice whilst parenting two small children. Starting to exhibit again after a break from being busy with a young family.

It was a thrill to have a solo show at John Miller Galleries, when I arrived in the Hunter Valley from Brisbane. I was also excited to exhibit at Art Gallery Schubert, Main Beach, Gold Coast & Red Hill Fine Art Galleries, Paddington and Brisbane.”

Pollard is presently working on –

“A new palette, the stimulus comes from rock pools and a desire to use more colour and explore the symbols, that arise in my process, a continual dance with colour, particularly an array of blue/ green & brown, representative perhaps of earth and sky. I’m also exploring the impermanence of rust and how this can be shown through the layering of my painting and stripping back the different colour fields. I’m happy to have transformed the children’s play room into an art studio when they are away or asleep at night, the halogen lights transform the space”.

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In The Red - 30 x 30 cm oil on canvas - Lisa Pollard Š 2014 Issue 8

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Pollard’s future aspirations with art -

“Continually creating, each day and finding a balance between work, life, parenting and painting. I enjoy updating my new website, keeping the work fresh and alive for the viewer. I like to document my evolving creative process and sharing this online with the art community. I’m planning on exhibiting regularly now the children are growing and be connected to fellow artists within Australia and perhaps exhibit overseas one day.

I want to explore daily the connection between my mindfulness practices and how it feeds into my creativity through present moment awareness and dropping into the ground of being”.

Elemental - 40 x 60cm oil on canvas Lisa Pollard © 2014 Issue 8

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Atmospherical - 50 x 50cm - oil on canvas - Lisa Pollard Š 2014 Issue 8

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Other interests?

Lisa Pollard’s other great passion is Yoga. She is a trained Yoga Teacher who has been practicing for 23 years & teaching Yoga & Meditation in Newcastle & the Hunter Region since 2004. Lisa is known for her ability to encourage students to discover & embody mindfulness through practice. Lisa is very interested in how yoga can prepare the body to sit in comfort & the benefits of restorative yoga to reduce stress.

Lisa sees Yoga as an embodied organic practice, which uncovers the interconnectedness of movement and stillness. Her openhearted approach to teaching creates a warm inviting space for her students to discover the joys of these body-mind practices. Lisa has completed extensive training in Yoga, meditation & mindfulness and is extremely grateful for all of the wonderful teachers from various traditions that have nourished her life. Lisa enjoys sharing these teachings with the community and is passionate about finding a balance between being & doing in the spirit of self-care. “I also enjoy Photography, Surfing, Swimming, Travel, Five Rhythms (Dancing) Ukestrals Voices Choir, (Just joined) & being immersed in Nature.

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Tell Me When 100 x 100 cm Oil on canvas Lisa Pollard Š 2014

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Unspoken 60 x 60cm Oil on canvas Lisa Pollard Š 2014

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Lisa Pollard beside her painting.

Photographs curtesy of artist Lisa Pollard

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Lisa Pollard Forthcoming Exhibitions.

June 6th- June 27th 2015 CStudios Art Gallery - Contemporary & Fine Art Nanshe Studio Gallery Shop - 2015 July 29th- Aug 22nd Exhibition with Jill Orr Oct 22nd – Nov 21st Exhibition with Mal Canon

Group Shows Nanshe Xmas Show 2014 Small – Back-to-Back Gallery April 2015 NEXUS – Newcastle Grammar School Sept 2015 Samaritans Collectors Care Oct 2105

WEBSITE: www.lisapollard.com Issue 8

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EXCURSION TO WADI RUM

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Excursion to Wadi Rum - Lorraine Fildes The brochure said “A truly unforgettable day in the Arabian Desert”. This made me see sand dunes rolling off into the distance. Nomadic Bedouins riding on camels and colourful Bedouin tents alongside an oasis to avoid the scorching heat of the desert.

The coach took us from the ship to a large, stylish visitor centre in Southern Jordan. This centre is the gateway to the valley of Wadi Rum, which is cut into the sandstone and granite rock.

It is the largest

'wadi' (Arabic for valley) in Jordan, and the name 'Rum', most likely comes from Aramaic origin, meaning ‘high’ or 'elevated'. So it is a valley that has been uplifted by the movement of the Earth’s tectonic plates.

On arrival at the visitors centre we were transferred to a four wheel vehicle for a two hour drive through this amazing reserve. Most vehicles are pick-up trucks operated by local Bedouin cooperatives. They are described as characterful and fun but only have modest levels of comfort. Unfortunately the one I was allocated to was a jeep left over from World War II and its main level of comfort was a roof to stop you suffering from heat stroke. Our driver/guide was a happy smiling Bedouin, but he had only a basic grasp of English. This didn’t matter as the scenery was spectacular.

I found Wadi Rum to be a stunning, sweeping desert site punctuated by jutting rock formations - it looked like a broken lunar landscape. It was magnificent. Our group of vehicles were dwarfed by the mountains.

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Visitor information Centre and restaurant.

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Four wheel drives dwarfed by the desert formations.

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A sweeping landscape view.

Now we are getting closer.

And closer still.

Our four wheel drives had to pass between some very narrow passages between the rock formations.

Traditional transport - Bedouins riding and leading camels and you could leave your jeep and ride on a camel through this incredible landscape. Having ridden on a camel before I did not opt for this activity, but I did enjoy photographing the Bedouins and the tourists riding the camels.

We stopped at a Desert Camp, where we were served traditional Arabic tea and delicacies.

Wadi Rum is quite unspoilt. Apart from the Bedouin goat hair tents, the main infrastructure is at the visitor’s centre.

Bedouins offer overnight stays at their camps so if you want to see more of the desert formations you need to take up this option. Most tourists do not realise just how big Wadi Rum is - it covers an area of 720 square kilometers. Staying overnight lets you explore more.

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Looking at Rock formations.

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Why is Wadi Rum is so well known in the West? The book Seven Pillars of Wisdom is the autobiographical account of the experiences of British soldier T. E. Lawrence ("Lawrence of Arabia"), while serving as a liaison officer with rebel forces during the Arab Revolt against the Ottoman Turks of 1916 to 1918.

Lawrence and Prince Faisal Bin Hussein based their headquarters in Wadi Rum and

their

are intrinsically woven into the history of this amazing area. The exploits of Lawrence have

exploits

become part

of local folklore, and some popular tourist sites are named after him. The Seven Pillars of Wisdom Mountain, the stunning formation very close to the Visitors Centre was named in 1980 after the title of Lawrence’s book.

The title of his book comes from the bible: The Book of Proverbs, 9:1: "Wisdom hath builded her house, she hath hewn out her seven pillars" (King James Version). Before the First World War, Lawrence had begun work on a scholarly book about seven great cities of the Middle East, to be titled Seven Pillars of Wisdom.

In 1914 the book was still incomplete and Lawrence stated that he destroyed the manuscript but he used the title for his later work.

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Rock formations that we drove past.

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Bedouin leading camels.

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Detail of rock formations.

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Bedouin leading camels.

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Films using Wadi Rum as a background setting: Lawrence of Arabia – This 1962 movie was mainly filmed on location in Wadi Rum. Red Planet - Wadi Rum was used as the surface of Mars in this 2000 film.

Passion in the Desert - The area was also used for scenes in this 1998 film.

The Face - BBC Film, Rock climbing in Wadi Rum. Transformers: Revenge of the Fallen - Represented as being in Egypt The Frankincense Trail - scenes from train, and aerial filming too Prometheus - Scenes for the Alien Planet May in the Summer - a film by Cherien Dabis presented at the 2013 Sundance Film Festival.

Long shots of Wadi Rum set the mood for the film.

Lorraine Fildes (C)2014

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SUSANA ENRIQUEZ

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EXHIBITION

Identity and Memory 10X8 Gallery Level 3 Central Park 28 Broadway Chippendale, NSW 2007 (p) 431 999 277 Gallery hours: open 7 days a week, 11am - 5pm OFFICIAL OPENING 10x8 Gallery Nov 20 - 7.00 pm

Susana Enriquez was born in Mexico City and currently splits her time between Australia and Mexico. She has shown her work internationally including in exhibitions in Australia, Mexico, Spain, Japan, England and France.

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Identity and Memory - Exhibition Memory is a component of the sense of identity, both individually and collectively, to the extent that it is an extremely important factor of the feeling of continuity and coherence of a person or group in rebuilding itself.

Considering the above premise, I started this project called Identity and Memory, with the participation of twenty Latino women, who migrated to Australia at different time. I Interviewed them

and

took the

photographs in New South Wales in 2012-2013.

In these brief sketches there is a common thread that unites them, which is an important part of the Latin American idiosyncrasy: attachment to family.

Everyone has their own memories, which cannot be transferred to others. It is this uniqueness of memories, and the ability to change the past into the present _Present-memory as the past, in the words of

Ricoeur (1999: 16) - which defines personal identity and

continuity of the self over time_ There is a plane in which the relationship between memory and identity is almost banal, yet important as a starting point for reflection: the core of any individual or group identity is linked to a sense of permanence (itself, self-hood) over time and space. Something to remember and recall one's past is what sustains the identity (Gillis, 1994).

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The relationship is one of mutual constitution of subjectivity, since neither the identity nor the memories are "things" or material objects found or lost.

Memory is a function of the brain, is a physical and mental task. Internally it is an ongoing activity that can be triggered by anything: a smell, a shape, a sound a sense. Memory is what we are. It is what we do.

In this project I used photography and video to document the personality of each woman and her objects, which represent a memory or an emotional bond with what they left behind, as a resource for a visual approach. At the same time, there is a reflection on how this experience of immigration and emotional connection through memory can be a source of artistic initiatives that value and enhance their aesthetic value. The result was a photographic exhibition and this book.

Susana Enriquez, PhD Artist/Curator - November 2014

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FROM RED TO MEXICAN PINK S

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FROM RED TO MEXICAN PINK - SUSANA ENRIQUEZ ART SYSTEMS WICKHAM 14 - 30 NOVEMBER 2014 40 Annie St. Wickham, NSW Hrs: Fri - Sun 12 - 4pm< Official Opening - ASW Nov 14 -From 3 PM The theme of this exhibition is the product of a national obsession. The passion for the colour red and its variants I have thus decided to make red the protagonist here, from the most intensely bloody hueâ&#x20AC;Śto Mexican pink, known as magenta. Magenta and its variants have affected the emotions of their beholders in various ways, at times making them exultant at times merely contemplative.

Magenta is a constant in the aesthetics of traditional dress among various indigenous groups in Mexico.

Therefore these paintings are painted on hand made bark paper, called Amate, made by indigenous people.

Researchers have discovered the power of red colour in the remote past among the Maya and the Mexica cultures, closely related as it is to the blood of human sacrifices, blood libations to their deities, their foundation myths, and finally their iconography.

If anyone travels around Mexico, examining its forms and colours in search of inspiration, will find that in indigenous communities, which for centuries, have used a broad spectrum of reds, pinks, purples, and lilacs, creating a national mindset and that there was a profound identification with this explosive colour, which is so often seen around the country.

Susana Enriquez (c)2014 Opposite page: From Red to Mexican Pink - mixed media - Susana Enriquez Š 2014 Issue 8

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Ancestors - mixed media - Susana Enriquez Š 2014 Website: art-systems-wickham.com Issue 8

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Reminiscence - mixed media - Susana Enriquez Š 2014

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WHALE –SONG TO DIRGE

And for those who don’t care,

You, who were meant to spend

who’re complacent, become burdened

your lives, wandering in the greater depth of Mother-Sea; to transverse the globe in life-long hajj, in harmony with all, but man.

they share in Sin. Those with the Blame! Whilst those who do, rent their clothes, tear their hair, and heap ashes on their heads.

- Kathryn Thomas(C)2014

Can it be, that those who hunt you do so from that core of hate, seeded from the sin, Envy? Seeming so jealously do they attempt to obliterate you, with the infamous hope, they will no longer be second.

Down through endless, man-made millennia, your attained perfection continues to now, and I fear for you. The human evil, anti- Love, is gifted with existence; existence, then, is a Love - given gift, so, their hatred of other, becomes hatred of self.

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A VIEW FROM HOPKIN’S MOUNTAIN 42 KATHRYN THOMAS There was day when I was young, and saw not the deceit in love,

Then, “O the mind, mind has mountains; cliffs of fall

felt not the arrogance of innocence.

frightful, sheer, no-man-fathomed”. So I sit,

It was then I explored the peaks

I think I sit, I think, and tumbledown

of the ideal-ic mountains of Romance,

into the well unfathomed. “Where am I?

always to fall, from a brief route-march on he slopes,

Who am I ?”, echoes, bounces off the canyon walls,

into the valleys and troughs of Disillusionment.

But one tires of falling for the Fabricated, the model built from the wax of expectation.

And when one finds the plateau of Cynicism’s

and sitting, thinking, I am an echo, but who spoke the Word?, Who calls my name?

Kathryn Thomas (C)2014

reached, there comes the desire to pause awhile, rest, awhiling in egocentric conceit, redreaming the perceived ideal, avoiding the seated dreamers overpopulating the fields of Indolence.

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NAOMI WILD

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NAOMI WILD - INTERVIEW BACKGROUND: I was in Coffs Harbour from birth till 14, I moved to the central west when my father was promoted. I spent my adolescence in Young which was the fire I was forged in; the conservative culture allowed me to be misunderstood enough to force me to stand alone in my individuality- such a gift despite the anguish. I explored theology on a farm commune after year 12 where I learnt to ask good questions of religion, relationships and of myself. At 21 I had my first formal training in visual Arts at Broken Hill tafe. Galleries on every corner as artists responded to the harsh outback made for a vibrant culture that took me by surprise and inspired me greatly. Moved to Newcastle in 2000, started Fine Arts at Uni but had to leave to have a baby and ended up just practising as an artist from there. I was disappointed at the time to leave my degree but when I realised that I could continue my practice regardless I actually felt quite liberated from the ‘machine’.

Many chapters followed where artistic notions looked like exhibitions, retail products, workshops; but it left me wanting more substance to my creativity. Human connection and connection with the spiritual experience that art making held were things I wanted to share.

So I took further training in Transpersonal Art Therapy a few years ago and haven’t looked back! The aspects of my own and the collective psyche inform my creativity and my creativity gives dimension to my work with peoples Wellbeing. It is quite the complementary marriage.

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Mixed media works - Naomi Wild Issue 8

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When did your artistic passion begin?

I painted with anything I could get my hands on from the time I was a baby and was immersed in creativity with an Art teacher mother. I feel as though that has been a constant state of being, changing styles, mediums and themes but always a creative. There have been times when I have been more focused on a body of work or lifestyle but it is just another language of my human existence.

My work tends to be unified by its soulful place of origin within me, layered with symbolic meaning or as a cathartic release. I have always loved rustic tones and repurposed materials and have more recently come to use more natural dyes and fabrics; hand sourcing and grinding my own pigments as much as possible.

That said, I am also a sucker for bold use of colour, I suppose I do what I feel in the creative moment.

What inspires you?

Life inspires me. The complex array of facets to this human experience, upon this marvellous planet, amidst this greater universe and the great mystery upon which it all rests.

The themes that really call to me are those that explore the psyche and the world of emotion and spirit.

The stories and their embedded meaning. Archetypes, mythology, anthropological, cultural and transpersonal backdrops to all artistic expression.

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Name your greatest achievement, exhibitions?

I feel that my greatest achievement has been more about the journey of being an artist and balancing life as a mother of four.

Fostering creativity and wellbeing in my children and then in the community has been the significant outcome of this.

Then to have maintained (be it sporadic at times) an art practise that has manifest through a group show at Broken Hill Regional Art Gallery and two solo shows in newcastle , a clothing label, performance art, a Conda award for set and costumes, wearable fibre art and jewellery, millinery and a host of community based workshops- A creative life.

What are you working on at present?

As I write this I am finalising work on a piece for the Adornment exhibition at NCAS which will be part of a series where I explore Archetypal symbology and mythic storylines as a cultural

backdrop..

I am also involved in running community workshops using creativity for personal wellbeing, stress reduction and mental health. Both ‘The Art of Wellbeing’ and ‘The Art Well- Youth Sessions’ harness our desire to express our stories and explore the ways in which we engage with the world. These sessions are based on a strong Jungian foundation using mandalas, mindfullness, symbology and dreamwork.

Your future aspirations with your art?

I plan on continuing to develop my practice and the relationship it has with the Transpersonal Art Therapy work I am doing in the community. As an artist I have found waves of inspiration that come and go but the opportunity to introduce creativity as a form of soulful expression for other humans to experience and see them touched so deeply is a profound honour, one that will keep me stepping up to a place where the two live intertwined.

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Forthcoming exhibitions?

I am currently co-ordinating a project called ‘Letting Go’; a series of fibre/textile art workshops that culminate in a footpath installation for International Womens’ Day 2015 through Timeless textiles- Fibre Art Gallery. The workshops are supported through the ‘Place making’ initiative of Newcastle City Council and are free; more info can be found on the timelesstextiles website.

Practising Artist of 15 years: Mixture of media (painting, fibre, poetry, sculpture....)

Group facilitation and Workshops for the purpose of connectivity to ones inner world through creative practices and groupwork. In a growing capacity for the last 5 years.

I hold workshops, films and facilitate groups for the purpose of building community through culture.

– Naomi Wild © 2014.

Website: naomiwild.com

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LARAINE PALMER

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LARAINE PALMER â&#x20AC;&#x153;My recycled art was born out of wanting a paper dress (you know coloured crepe paper) for a Primary School Fancy dress dance when I was about 7 or 8 years old. What I got was a dress made out of The Muswellbrook Chronicle.

Boy was I upset. The next year my mum made me a Harem Costume out of an old beaded hand bag and off cuts of sheer fabric.

Looking back on these two photographs encouraged me to start creating clothing out of recycled materials. The beginning was discovering the treasures in a warehouse of recycled materials in St Marys in Sydney when on a university excursion.

There were barrels of video tapes, fabrics, cotton and other threads and rubber discs.â&#x20AC;?

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“My first dress was made out of crocheted video tape and these rubber discs. Plastic shopping bags were becoming a news item so I decided to find a way to make these bags into thread – thus creating my first knitted/crocheted dress out of white plastic shopping bags. I could cut these bags so that I was able to get between 8 and 10 metres. Everything grew from this.”

“In 1997 I commenced open foundation and then a Bachelor of Fine Art at The University of Newcastle and I continued on to Honours in 2001.

During this time I have painted and designed wearable garments and fibre textiles works for various exhibitions and competitions.

I earned the Overall Major prize for the Waste as Art Competition in 2000 with a Wearable art garment “Liberated Nights” made from recycled Libra Goodnight packaging. In 2005 I became equal winner of the Waste as Art 3D section with a Red Dress “Flame” made out of orange bags, onion bags, reused fabric and milk bottle rings.”

- Laraine Palmer (C)2014 Photographs curtesy of artist Laraine Palmer.

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Liberated Nights Dress 2002 Laraine Palmer.

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Nuptial Outfit 2001 Laraine Palmer

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Mr Silver - Waste As Art Exhibition 2009

Sir Knight - 2013 Laraine Palmer

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ADORNMENT

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ADORNMENT - WEARABLE ART EXHIBITION 2014 The following pages feature a selection of artists and their work from this year’s Wearable Art Exhibition held at Newcastle Art Space Gallery, curated by artist Ann Sutherland.

“Body art like any other art form ranges from the frivolous to the serious” quote from The Decorated Body by Anthropologist Robert Brain inspired her to encourage artists to explore the idea of adornment in the form of wearable art, photography, drawing and sculptural works and for artists to create art works based on expressions made by the tattooed body, the scarred body, the plastic body, the symbolic body, the sexual body, the animal body, the social body, the religious body, the dressed body and the decorated body.

- Ann Sutherland, Curator (C)2014

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The Failure of the Talisman against the Boori Nazar - Andrew Finnie Main text: These men have armed themselves against the universe. They have adorned their bodies with spells to ward off evil and attract good luck. They wear magical feathered head gear to show that they have the strength of eagles.

Yet, despite their obvious bravery, found frequently on their bodies is the Boori Nazar - the 'evil eye'.

To protect against the 'evil eye' one must wear an 'evil eye'. The more they wear, the better their protection.

To double their protection, in the sac at lower left, is a Nazar Naashak Yantra - made from magical Pomegranate, musk, chandan and saffron sprinkled with Holy water.

The Boori Nazar and the amulets are self fulfilling prophecies. They make magic. As long as we believe.

The fellow on the left has faltered in his belief. He has strayed from the true path and adorned himself like a human billboard. His friend on the right proudly shows the truth of his beliefs with open handed gestures.

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Detail from work.

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Subtext: Ugliness in the pursuit of beauty.

The more we are different, the more we are the same.

Comments: The boy in the background is the passive observer, his innocence gradually tainted by those who should know better.

Inspiration: I believe that faith guards us against the Chaos of the Universe. The type of faith doesn't matter, it's the quality of the faith that does.

Method: I work digitally, firstly in two dimensions, then three dimensions, then once again in two. In Photoshop I use many layers. The size of this image, with none of the layers compressed, is 1.7 gig.

- Andrew Finnie (c)2014

Website: andrewfinnie.com Opposite: detail from work - Andrew Finnie.

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SANDRA SHAW Photographer – Rob Eyre.

“Heart’s Desire’’ - Sandra Shaw Design Model - Megan Hector Description of artwork: Silk velvet dress and scarf , hand printed and dyed, with glass bead and sequin detail.

‘’Heart’s Desire is devore velvet – the velvet has been printed with an acid to etch the design into the cloth, then the fabric is dyed for its rich colour. The technique was very popular in the late 1900’s through the 1920’s, when skilled artisans abounded, there was a richness of style and creativity. I love lots of things about this time in history, and this print is inspired by the graphic artist Alphonse Mucha. The vintage revival has renewed interest in this time when fashion was beginning, and items from then are greatly valued as wearable pieces of art now. There are so many things I love about thinking the idea, and then seeing it become real through the printing process. It’s a labour of love and my true heart’s desire.

- Sandra Shaw (C)2014.

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Heartâ&#x20AC;&#x2122;s Desire Designer - Sandra Shaw

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www.sandrashaw.com.au

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Spring

Chlorise - Queen of Flowers

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MADHATTER MILLINERY - JENNIFER O’BRIEN Jennifer O’Brien has studied millinery in Newcastle and in Sydney.

Her background in fine arts and visual arts bears influence on Jennifer’s creations, which at times are quite sculptural. Her love of colour and form found their perfect home when Jennifer ‘casually’ enrolled in a millinery course because her own art practice needed structure! Her strong background in sewing – as a teenager Jennifer sewed all her clothes and came up with some exceptional designs – complements the ‘soft’ sculptural techniques of millinery.

Face shape and body type influence the style of a custom-made headpiece and Jennifer is careful to craft headwear that will suit an individual’s needs.

Chlorise - Queen of Flowers Aubergine & Purple Rose and leaf head-dress: With the prescription of ‘adornment’, I had the desire to adorn with Nature. Ancient myths and sensations imbue this work, with thoughts and visuals of nymphs, Druids and goddesses. What better way to ‘adorn’? Nature brings a depth and richness like no other.

‘Spring’ This hat was made as a celebration of Nature, colour and beauty. It is made with fairly traditional millinery materials: sinamay, wire, leno, net and fabric.

It too could be a tribute to Chloris. I guess I am quite entranced with flowers and their re-creation as an adornment .

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CAROLYN MCKAY Tattoos are an intentional and indelible form of bodily adornment. Recently I had the chance to witness and document a 4 hour inking session. My artworks originate from the video footage and still images I shot that day, combining the heavily illustrated arms of the tattoo artist with the freshly tattooed skin of her client.

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CAROLYN MCKAY

Carolyn McKay is a visual artist, researcher and sessional academic at the University of Sydney and the University of Newcastle.

Her practice encompasses digital video, photomedia and painting, and she is a studio artist at Newcastle Community Arts Centre.

Research and artworks revolve around audiovisual technologies in prisons and courts; courthouse obsolescence; visual representations of criminality; convict tattoo designs; "Inking" Bandana 62 x 62 cm, original digital print on Silky Faille (polyester), hand stitched.

convict bio-data descriptions; surveillance technologies.

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CABARET COUTURE

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CABARET COUTURE Robyn Werkhoven Cabaret Couture is a tribute to theatrical and fanciful fashion.

I have chosen to use a cut out model, recollecting how many delightful hours I spent as a child, playing with cut out paper dolls and designing their clothes.

The dress features two surreal scenes of characters decked out in their fancy dress, perhaps on their way to a party or parade.

The cabaret model is adorned with tattooing – “tattooing is an exotic and mysterious art form whose roots date back to prehistoric times”.

Medium: wood / acrylic paint / lacquer.

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NAOMI WILD Gyre (Inspired by the poem ‘Second Coming’ by Yates and the play on words with the earth’s name Gaia) Description of artwork……This piece explores the ideas surrounding ongoing life death life cycles that we are immersed in as humans on this earth. Whilst we hurry around trying to look attractive, successful, interesting and youthful, we can forget the silent body whom we adorn with our

concrete jungles and

pollutant blights.

Might we remember where we came from and where we are going.

Media: Eco dyed and machine embellished fabric, lino prints using locally sourced hand ground pigments on linen.

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LARAINE PALMER "The Robe" A robe an be a long loose highly decorative flowing outer garment that can be worn as a ceremonial dress or just plain and comfortable for lounging around the house. It can be knitted, made from furs, blankets or any fabric that a person chooses.

This work is the resurrection of a previous work which I have been trying to make into something else for a number of years. When I looked at it I felt that it had a presence about it and worked on this aspect of the image. With fabric left over from another image with cutup pieces of recycled fabric there were some coloured pieces that suited this image and it grew from this.

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ANN SUTHERLAND

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NULLABOR NYMPH BRIDE - ANN SUTHERLAND Media: cotton, hessian, fabric dyes, screen printed and hand painted After many years of desiring to drive across the Nullabor, due to unplanned events, I finally have travelled from East to West and West to East in 2014. I was pleasantly surprised by the beauty and wonder of this vast space, my preconceived image had been much different! In September I travelled with my sister from Perth to Tasmania and was thrilled to see the unending miles of wildflowers flashing past and the desert colours and coastal secrets found hidden along the way. Itâ&#x20AC;&#x2122;s truly a magic place!

Isolation between truck stops at roadhouses and Australian humour inspired a legend of the Nullabor Nymph. In 1971 on 26th December professional kangaroo shooters claimed to have seen a blond white woman amongst some kangaroos, backing their story with a grainy black and white film showing a woman wearing kangaroo skins and holding a kangaroo by the tail.

Artist Dora Dallwitz in 1992 was inspired by the legend and her sculpture now stands at the Flinders Medical centre in Adelaide. In 2012 a low budget movie The Nullabor Nymph was written and directed by Matthew J. Wilkinson and produced out of Ceduna SA. The mockumentary depicts the Nymph as torturing men who travel across the Nullabor!

My art works are inspired by the legend of the Nullabor Nymph and the beauty and mystery found in the Australian outback.

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ART NEWS

BEN KENNING EXHIBITION "Semi Conscious: Mind Over Matter" Opening Thursday 6 November at 6.30pm Watt Space Student Gallery of the University of Newcastle Cnr Auckland & King Sts Newcastle.

Bachelor of Fine Arts, Honours Exhibition.

"Semi Conscious: Mind Over Matter" is a small collection of selected works which deal with notions of causality, inter-dependence and inter - connectivity.

The works find there roots in an investigation in to the conceptual and practical application of Automatic Drawing by engaging with and expressing the content of the sub-conscious.

- Ben Kenning (C)2014.

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PABLO TAPIA Frances Keevil Gallery franceskeevilgallery.com.au Issue 8

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timelesstextiles

Food meets fibre in Taste of Textiles exhibition Issue 8

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Food meets fibre in Taste of Textiles exhibition Calling all lovers of food and fibre art!

These stunning recipes, alongside images of the both the final dishes and the artwork that inspired them, beautifully captured by local photographer Garrick

A new exhibition and book, being launched at Newcastle's

Muntz, will be produced in a limited edition (200 copies)

Timeless Textiles Gallery in December, celebrates a passion

boxed set, and will be available for sale at the exhibition

for exotic, seasonal food with the rich textures of fibre arts.

opening.

The Taste of Textiles exhibition brings together work from 20

Artists contributing to Taste of Textiles include Nicola

fibre artists from around the world to display their passion for

Henley, Marjolein Dallinga, Polly Stirling, Jill Berry, Syl-

textile art, cooking and growing food. It will appeal to every-

via Watt, Glenys Mann, Judy Hooworth and Meredith

one with a love of food and a flair for the creative.

Woolnough to name a few.

The contributing artists have represented a variety of vivid

Opening: by Janet De Boer at 2pm, Saturday, 13 De-

produce in their works, including the humble potato, mushy

cember. Come and join us for a fabulous celebration of

mulberries, beetroot, saffron and rose petals. Each has cre-

the artists and food lovers that inspire us. Sample the

ated a visual narrative based on, and inspired by, their love

recipes and purchase this unusual Taste of Textiles

for that particular produce.

boxed set in time for Christmas.

Inspired by the artists' passion, much-loved local cook Bev Whitehead has created and tested exquisite recipes to mirror

anne@timelesstextiles.com.au

the artworks. These include lemon myrtle spelt sables, chilli jelly, fig affogato, pomegranate with rosewater jelly, cardamom labneh and Persian Fairy Floss.

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HIT THE BRICKS 2014 - NEWCASTLE

1 & 2 NOVEMBER

29 ARTISTS

23 WALLS

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STUDIO LA PRIMITIVE ARTS ZINE Celebrated 1 year old on 1st October 2014.

All issues may be viewed & downloaded free from

www.issuu.com

Further information contact Editor Robyn Werkhoven: Email: werkhovenr@bigpond.com Issue 8

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STUDIO 48 Looking for expressions of interest for gallery next year 2015.

Re: rent periods.

three

week

Contact details: Visit gallery on a Friday between 11am - 4 pm or a/h Phone number

49574714 Director Sandra Baker

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